Women Composers in JazzMain MenuWomen Composers in JazzIntroductionExplaining the key goals and ideas of this projectAnn Rabson: A Life of MusicAnn Rabson, a reknowned Blues guitarist and pianist, describes her life, career, and experiences.Jane Ira Bloom: Jazz Chose MeMaria Schneider: Not Built For the Classical WorldMaria Schneider, a world- renowned composer shares her story and passion for jazz.Marian McPartland: Not just "Piano Jazz"Marian McPartland, a famed pianist and radio personality, allows us to glance into her world of jazz.Theme 1: Gender BiasesExploring the ways in which Ann Rabson and Marian McPartland differed in their entrance into a male dominated field.Theme 2: Composition of MusicJane Ira Bloom and Maria Schneider's world of composition and their processes collide.Theme 3: Legacy and ImpactDiscussing both the legacy and overall impact left by these female musicians."Almost Like a Real Band"A look at how this provocative sociological essay relates to the lives of the female jazz musician's we have chosen to highlight in this DH projectRace as a Social Construct in DHAnother DH MethodProcessA description/blog of our continual efforts to create this projectAnnotated BibliographyConclusion: Not Just SingersOur conclusion of how the four women we selected did not conform to early jazz gender roles, and went beyond to become capable musicians and composers.Jenna Donovan, Paige Pendergrast, Samantha Srinivasan, and Adrian Marcanof3dea82758beaa1bb9e5eba1d3a6d7ee69322bea
Maria Schneider Orchestra Jazz a Vienne 2008 Hang Gliding 1/2
12016-05-08T18:21:31-07:00Jenna Donovan, Paige Pendergrast, Samantha Srinivasan, and Adrian Marcanof3dea82758beaa1bb9e5eba1d3a6d7ee69322bea92091plain2016-05-08T18:21:31-07:00YouTube2014-08-06T23:57:37.000ZZXlaXbI0EqgMackenzie LeightonJenna Donovan, Paige Pendergrast, Samantha Srinivasan, and Adrian Marcanof3dea82758beaa1bb9e5eba1d3a6d7ee69322bea
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1media/maria road.jpgmedia/maria schneider.jpg2016-04-19T08:33:31-07:00Maria Schneider: Not Built For the Classical World13Maria Schneider, a world- renowned composer shares her story and passion for jazz.image_header2016-05-09T18:14:45-07:00 Born in Windem, Minnesota in 1960, Maria Schneider was not familiar with the modern jazz scene of her time while growing up. While her family was supportive of Maria’s desire to learn about classical music, Schneider realized after her studies that she “felt weird in the classical world” (line 54). Living away from the jazz world, Schneider’s only resort was to learn about traditional music until she met a woman in her town named Mrs. Butler. Mrs. Butler previously lived in Chicago and was the one source of jazz knowledge in rural Windem. Schneider was already enrolled at the University of Minnesota where she was in the process of earning a classical degree in music theory and composition. However, that process was quickly rushed after learning the art of jazz from Mrs. Butler. Schneider went on to get her masters at the Eastman School of Music where she heard modern jazz in spades and knew it was her calling. While educated and trained classically, Schneider admits, “… my education in jazz came from this support of friends and just out of a love of music and listening to things all the time” (lines 85-86). Learning jazz from Mrs. Butler and furthering that knowledge at Eastman was what propelled Schneider to become one of a kind in the American jazz scene.
Following her passion, Schneider worked as an assistant for music legend Gil Evans. While studying with Evans, Schneider was able to assist in writing music and composing for a tour with Sting and Evans’s scoring of the movie The Color of Money. She was also lucky enough to get commissions from groups like the Jazz and Lincoln center to music icons such as David Bowie. After working with composers, Schneider created her own orchestra named The Maria Schneider Jazz Orchestra in 1992. With her orchestra, she performed around the world. In 1994 she released her first record, Evanescence, for which it was nominated for two Grammys in 1995.
The list of awards for Schneider and her orchestra is never-ending. In 2004, Schneider won her first Grammy for Best Large Jazz Ensemble Album. That album was the first to win that was exclusively sold online and purely fan funded. In 2005 she won four awards from the Jazz Journals Association ranging from Jazz Album of the year to Composer of the year. She later won her second Grammy in 2007 for Best Instrumental Composition. In 2013, Schneider’s album Winter Morning Walks won three Grammys. In 2016, she also won a Grammy for the latest work The Thompson Fields. Her achievements could go on for a lifetime but her passion and success are what prove her to be a jazz icon for all.